Slant Magazine's Scores

For 2,326 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 9.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Days of Heaven
Lowest review score: 0 Cold Fish
Score distribution:
2,326 movie reviews
    • 29 Metascore
    • 25 Critic Score
    Trade of Innocents is as much a piece of social-justice campaigning as it is a work unto itself, an important fact to remember when considering its many flaws.
  1. An embarrassing girls-behaving-badly indie romp you'd expect a group of friends to write after an all-you-can-drink brunch.
  2. It's less a film than an unimaginatively assembled series of talking heads.
  3. The filmmakers' kinship to Moriarity is obvious, and it makes for a tone of unflinching hope and optimism, though it leaves little room for grit or nuance.
  4. The Details is as smug and self-satisfied as its privileged lead character.
  5. A Man's Story does a major disservice to an artiste of fashion with a pretty amazing and prolific oeuvre by reducing him to a Bravo-like personality - a personality whose pettiness Boateng's work, though perhaps not his ego, clearly exceeds.
  6. Fifteen minutes into Festival of Lights you come to the discouraging realization that you know every infuriating plot beat that will follow.
    • 81 Metascore
    • 25 Critic Score
    When one stops to consider how irksomely on the nose so much of this is, the qualities which intend to most readily ingratiate the film with us begin to appear perceptibly disingenuous and false.
  7. The film takes dramatic material that sounds fairly standard-issue to begin with and proceeds to uncover precious little of genuinely fresh intrigue within it.
  8. The film grows increasingly tiresome the more it flirts with melodrama, unraveling themes of jealousy, regret, and ambition in broad strokes.
  9. The cinematic equivalent of staging a disaster and then bitching about the mess.
  10. The film is ultimately more concerned with Caveh Zahedi's attempts to pursue a variety of dull passing fancies than with any larger agenda.
  11. Hollywood celebrities romping around in a candy-colored Alexa-shot criminal underworld, pretty much as a means of passing time.
    • 49 Metascore
    • 25 Critic Score
    The Donald Rice film suffers most from an excessively blunt approach.
  12. In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
    • 63 Metascore
    • 25 Critic Score
    One would be hard-pressed to describe this, despite the wealth of beauty on display, as anything but an ugly film, shot and cut ineptly.
  13. What's worst about the film is how it appropriates its main character's noncommittal selfishness to support its own quaint, anti-establishment themes.
  14. The film is as incompetent, manipulative, safe, and disposable as any number of nickel-and-dime actioners, but goes to great, unconvincing lengths to insist it's different.
  15. A Dark Truth is one of those unfortunate projects whose component parts are immediately at odds with one another.
  16. More chilling than the horror of the alien's close-quarters assault is the rank misogyny that more than offensively underscores the Melrose Place-grade human drama.
  17. Ruben Fleischer's film is a perfect example of Hollywood hypocrisy, something to be ignored diligently.
  18. The film speeds ahead with almost gleeful disinterest in dealing with the narrative challenges it sets up before resolving them in the most perfunctory ways imaginable.
  19. The frantic, grotesque imagery ironically only highlights Don Coscarelli's inability to truly cut ties with the constraints of accepted storytelling.
  20. It would be inaccurate to call Happy People: A Year in the Taiga the newest Werner Herzog film.
  21. Bill Guttentag exaggerates the absurd lengths advisors go to win an election and yet ultimately aggrandizes their behavior.
  22. Essentially a horror movie in which the source of the horror shifts from capital-M men to crazed lesbianism.
  23. A shrill Indiewood torture porn that, despite promised shocks and revulsions, doesn't even have the conviction to hold its camera on the story's most appalling twists.
  24. The film feels like it was reverse-engineered from its "Yippee Ki-Yay Mother Russia" tagline, a wholly generic international actioner barely distinguished by the presence of Bruce Willis's banner hero.
  25. The film spins its wheels for almost an hour until collapsing under the weight of exposition that renders the mystery nearly besides the point.
    • 51 Metascore
    • 25 Critic Score
    Snitch is the latest in a long line of films whose sole purpose is to flatten a major social problem into a pulp ideal for self-serious spectacle.

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